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THE  GEORGE  A.  HEARN  GIFT 

TO   THE 

METROPOLITAN  MUSEUM  OF  ART 

OF   THE 

CITY  OF  NEW  YORK 


THE 

GEORGE  A.  HEARN  GIFT 

TO  THE 

METROPOLITAN  MUSEUM 
OF  ART 

IN  THE  CITY  OF  NEW  YORK 
IN  THE  YEAR  MCMVI 


N  EW    YORK 

PRINTED    FORTHE    MUSEUM 

MCMVI 


CORRESPONDENCE 

THE  following  letters  which   passed  between  Mr.  Hearn  and 
the  President  and  Trustees  of   the  Metropolitan  Museum 
set  forth  the  wishes  of  the  donor  and  the  conditions  under 
which  the  gift  was  made  and  accepted. 

THE  OFFER 

December  i8,  1905. 

J.  PiERPONT  Morgan,  Esq., 

President,  Metropolitan  Museum  of  Art,  Central  Park,  New 
York  City. 

Dear  Sir: 

According  to  my  recollection  there  are  fifty  pictures  in  Gallery 
15,  twenty-two  of  which  have  been  given  and  twenty-eight  loaned 
by  me. 

Instead  of  four  of  these,  1  wish  to  substitute  four  others,  being 
better  pictures,  namely:  "  Lady  Hamilton  as  Daphne,"  by  George 
Romney;  "Peg  Woffington,"  by  William  Hogarth;  "Mrs.  Pulham," 
by  John  Constable,  and  "  Master  Hare,"  by  Sir  Joshua  Reynolds. 

After  the  changes  are  made  I  desire  to  present  them  all  to  the 
Museum,  on  condition  that  they  shall  all  remain  together  in  the 
gallery  they  are  now  in  or  some  other  of  equal  size  and  importance, 
equally  well  lighted. 

In  connection  with  the  above  I  will  also  give  One  Hundred  Thou- 
sand Dollars,  income  to  be  used  in  purchase  of  American  pictures. 

If  this  is  agreeable  to  the  Trustees,  1  will  either  have  the  four 
pictures  sent  to  the  Museum  or  show  them  to  the  Committee  on 
Paintings  at  my  home  at  such  time  as  may  be  convenient  to  them. 

On  notification  that  these  gifts  will  be  acceptable,  I  will  make 
offer  formal. 

Yours  truly, 

George  A.  Hearn. 

vii 


M52180 


To  THE  Trustees  of  the  Metropolitan  Museum  of  Art. 

Thursday,  January  ii,  1906. 
Gentlemen: 

Objection  having  been  raised  to  the  condition  accompanying  my 
offer  of  pictures  and  money  to  the  Museum,  I  deem  it  but  due  to 
myself  to  offer  justification  therefor. 

It  having  been  said  that  it  is  difficult  to  meet  the  demand  that 
gifts  of  paintings  be  kept  together  permanently,  because  such  collec- 
tions represent  different  nationalities  and  periods,  I  would  reply, 
that  while  such  difficulty  might  arise  where  the  gifts  number  a  dozen 
or  so,  it  cannot  be  true  where  an  entire  gallery  is  harmoniously  filled 
from  a  definite  standpoint,  for  then  the  collection  becomes  a  unit,  or, 
let  us  say,  a  small  museum  in  itself,  the  separate  works  contained 
therein,  holding  consistent  relation  to  each  other,  completing  the 
roundness  of  the  whole. 

This  collection  is  not  simply  a  number  of  unrelated  pictures  that 
happened  to  please  the  fancy,  brought  to  the  Museum  from  the 
walls  of  my  home;  on  the  contrary,  it  is  a  collection  formed  in  the 
gallery  where  it  now  hangs,  during  a  number  of  years,  having  been 
subjected  to  frequent  changes,  always  with  improvement,  and,  by 
consent  and  approval  of  the  authorities,  until  the  present  harmony 
was  secured. 

To  scatter  these  paintings  through  different  rooms  would  be  to 
undo  the  result  I  have  desired  to  attain,  and  the  artist  or  art  lover 
will  find  nothing  in  Gallery  i  5  to  interfere  with  his  enjoyment,  nor 
can  the  effect  be  said  to  be  disturbing  to  the  Museum. 

It  is  but  natural  that  donors  should  prefer  to  have  their  gifts 
assembled  where  they  may  be  seen  at  their  best,  rather  than  scattered 
through  various  rooms.  Certain  collections  of  paintings,  porcelains, 
jades  and  musical  instruments,  now  in  the  Museum,  are  far  more 
interesting  shown  by  themselves,  than  if  broken  up.  Furthermore, 
they  are  gifts  no  Museum  can  afford  to  refuse  on  the  ground  that 
they  are  to  be  kept  together  permanently;  for  it  is  to  the  generosity 
of  private  individuals  that  we  must  look  for  the  constant  growth 
of  the  institution. 

To  distribute  this  collection  now  according  to  schools  would  be 
to  substitute  a  mechanical  subdivision  for  an  arrangement  arrived 
at  after  years  of  loving  study. 

The  objection  raised  to  keeping  together  individual  collections 
has  not  disturbed  European  Museums.  For  example,  in  the  Na- 
tional Gallery  we  find  the  Peel  Collection,  though  purchased  in  1871, 
is  still  kept  together;  then  there  are  those  notable  examples  of 
Turner,  which  were  accepted  by  the  Trustees  with  the  condition 
that  they  should  hang  with  the  Claudes.  In  the  South  Kensington 
we  find  the  Sheepshanks  Pictures  kept  together,  as  well  as  the  Forster, 
the  Dyce  and  others;  also  the  admirable  collection  of  Furniture, 
Pictures  and  Art  Objects  bequeathed  by  Mr.  Jones. 

In  the  Louvre  hangs  the  La  Gaze  Collection.      In  the  Ryks  Mu- 

viii 


seum  at  Amsterdam  we  find  the  Van  der  Hoop  Collection  occupy- 
ing rooms  by  itself;  and  in  this  same  Museum  we  note  the  Dupper 
Q)llection,  the  Van  de  Poll  Q)llection,  as  well  as  four  lesser  ones, 
kept  together  as  harmonious  units. 

It  is  worthy  of  remark  that  the  Reid  Collection  bequeathed  to 
the  Glasgow  Gallery  with  the  same  condition,  numbers  but  ten 
paintings,  divided  between  four  nationalities;  others  might  be 
named  if  further  examples  were  needed.  In  fact,  if  there  be  any 
ground  for  such  objection,  does  it  not  seem  strange  that  the  fore- 
most European  Museums  deliberately  create  such  collections  by 
assembling  conspicuous  pictures  of  different  periods  and  nation- 
alities in  single  rooms.  In  the  Tribune  of  the  Uffizi  in  Florence  do 
we  not  find  works  by  Van  Dyck,  Diirer  and  Cranach  hanging  with 
those  of  Titian,  Raphael  and  Correggio?  In  the  Salon  Carre 
of  the  Louvre  we  find  Rembrandt,  Dou  and  Van  Dyck  hanging  with 
Bellini,  Titian  and  Leonardo,  or  touching  shoulders  with  Murillo, 
Paul  Veronese,  Memlinc,  Rubens,  Holbein  and  others. 

The  same  assembling  of  varied  works  appears  in  the  great  Gallery 
of  the  Wallace  Collection,  the  latest  European  museum  opened— one 
of  the  great  rooms  of  the  world — where  Dutch,  Flemish  and  Eng- 
lish, Italian  and  Spanish  pictures  hang  side  by  side  to  the  advantage 
of  the  whole.  The  great  room  of  the  Hermitage  Gallery  contains 
works  by  Italian,  Spanish,  Dutch,  Flemish  and  other  nationalities. 

On  the  other  hand,  anyone  who  has  visited  the  exhibitions  of 
the  work  of  a  single  painter,  must  have  felt  the  loss  which  such 
a  painter  sustains  in  the  ordeal,  whether  it  be  the  great  Rem- 
brandt and  Van  Dyck  exhibitions  of  a  few  years  ago  abroad,  or 
the  shows  of  modern  painters,  like  Cazin  and  Inness,  held  in  this 
city.  It  is  an  indisputable  fact  that  two  pictures,  both  good,  by 
the  same  artist,  may  be  hurt  by  being  hung  together;  this  is  recog- 
nized in  the  best  arranged  galleries  of  the  world.  Who  has  not 
felt  disappointed  on  first  visiting  the  room  in  the  National  Gallery 
where  the  Turners  hang,  or  upon  entering  the  great  room  in  the 
Hermitage,  where  forty-one  examples  of  Rembrandt  are  to  be  seen? 

If  paintings  are  only  to  be  enjoyed  and  studied  when  arranged 
in  chronological  sequence,  the  same  rule  would  apply  to  exhibits  of 
sculpture,  bronzes,  porcelains  and  other  objects  shown  in  these  halls. 
But  will  any  one  claim  that  such  is  the  case?  The  proportion 
of  visitors  that  demand  such  a  condition  for  their  enjoyment  is 
small  indeed.  /Esthetic  pleasure  derived  from  a  work  of  art  is  not 
dependent  on  any  such  chronological  or  mathematical  arrangement. 
While  considerations  of  size,  color  and  tone,  and  space  to  be  oc- 
cupied, must  enter  into  any  arrangement  of  pictures,  it  is  essential, 
first  and  last,  that  the  works  shown  be  of  good  quality  and  repre- 
sentative of  their  authors. 

The  fifty-one  paintings  in  this  collection  in  Gallery  i  5  embrace 
only  four  nationalities,  34  of  them  being  English,  8  Dutch  and 
Flemish,  3  French  and  6  American.  The  English  pictures  are 
arranged  in  two  groups,  facing  each  other  on  the  east  and  west 

ix 


walls.  The  Dutch  and  Flemish,  by  making  one  change,  can  be 
practically  brought  together,  namely,  by  transposing  the  Van  Dyck 
and  the  Vincent  and  the  Romney;  but  this,  in  my  opinion,  would 
not  be  an  improvement,  as  the  light  is  more  favorable  to  the  Van 
Dyck  where  it  now  hangs. 

The  Americans  were  purposely  hung  in  the  Gallery  to  show  that 
good  American  pictures  can  hold  their  own  against  the  foreigners; 
I  never  having  discriminated  in  making  purchases,  the  test  always 
being,  "  Is  the  picture  good?"  and  the  only  preference  being  to  buy 
the  American  when  quality  and  value  were  equal. 

While  under  the  impression  that  my  gifts  of  pictures  and  money, 
as  offered  at  the  December  i8th  meeting  of  the  Board,  had  been 
unanimously  accepted  by  the  Trustees,  nevertheless,  in  deference  to 
views  of  those  who  think  that  the  Museum  should  not  be  bound 
to  perpetual  conditions,  I  have  amended  the  offer,  in  full  expec- 
tation that  the  authorities  of  the  Museum,  as  now  or  hereafter 
constituted,  will  consider  themselves  under  moral  obligation  to 
conform  to  wishes  expressed. 

Very  truly  yours, 

George  A.  Hearn. 


THE  AMENDED  OFFER 

Thursday,  January  ii,  1906. 

J.  PiERPONT  Morgan,  Esq., 

President,  Metropolitan  Museum  of  Art,  Central  Park,  New 
York  City. 

Dear  Sir: 

I  have  heretofore  presented  to  the  Museum  twenty-four  pictures, 
and  now  desire  to  present  in  addition  twenty-seven  pictures  with 
the  full  expectation  that  the  authorities  of  the  Museum  as  now  or 
hereafter  constituted  will  consider  themselves  under  moral  ob- 
ligation to  keep  the  fifty-one  pictures  (see  list  below)  together, 
for  the  period  of  not  less  than  twenty-five  years  from  the  date 
hereof,  in  the  gallery  they  are  now  in,  or  all  together  in  some  other 
gallery  of  the  Museum  of  equal  size  and  importance,  equally  well 
lighted. 

Should  the  pictures  of  the  Museum,  after  the  twenty-five  years 
have  expired,  become  so  numerous  as  to  make  it  desirable  for  them 
to  be  grouped  according  to  their  respective  schools  of  art,  while  1 
should  prefer  that  they  should  remain  in  a  gallery  by  themselves, 
as  above  stated,  it  will  be  deemed,  compliance  with  above  expressed 
expectation,  if  all  of  the  pictures  belonging  to  each  school  are  hung 
together  as  a  group,  in  galleries  with  others  of  the  same  school  with 
a  group  label  above  each  group,  designating  the  pictures  as  belong- 


ing  to  the  "George  A.  Hearn  Collection,"  and  each  picture  neatly 
labeled,  in  addition  to  the  name  of  the  artist,  "George  A.  Hearn 

Gift." 

*Inness,  George,  N.  A. 
Peace  and  Plenty 

♦Gainsborough,  Thomas,  R.  A. 
Portrait  of  Mr.   Burroughs, 
Uncle  of  the  Artist 

*B0NNINGT0N,  RiCHARD  PaRKES 

Coast  Scene,  Normandy 
*Stark,  James 
Willows  by  the  Water  Courses 
*WiLsoN,  Richard,  R.  A. 
The  Storm 
♦Callcott,  Sir  Augustus  Wall,  R.  A 
Landscape 
*Harlow,  George  Henry 
Portrait  of  the  Artist 


♦Reynolds,  Sir  Joshua,  P.  R.  A. 
Portrait  of  Mrs.   Arnold 

♦Constable,  John,  R.  A. 
Bridge  on  the  Stour 

♦Pine,  Robert  Edge 

Portrait  of  Mrs.    Reid, 

in  Character  of  Sultana 

♦Hoppner,  John,  R.  A. 

Portrait  of  a  Lady 

known  as  the  Lady  with  Coral  Necklace 

♦Lely,  Sir  Peter 
Portrait  of  Sir  William  Temple 

Hogarth,  William, 
Peg  WofTmgton 

♦Kneller,  Sir  Godfrey,  Bart., 
Portrait  of  Lady  Mary  Berkeley 

♦Raeburn,    Sir    Henry 
Portrait  of  William  Forsyth 

♦Reynolds,  Sir  Joshua,  P.  R.  A. 
The  Duke  of  Cumberland 

♦MoRLAND,     George 
Midday   Meal. 

♦Cottman  John  Sell 
Coast    Scene 

♦Beechey,  Sir  William,  R.  A. 
Portrait  of  a  Lady 

♦Claude,  Le  Lorrain 
A  Seaport 


♦Wilson,  Richard  R.  A. 
Landscape  and  Figures 

♦OSTADE,   ISACK  VAN 

Winter  in  Holland 
♦Hooch,  Pieter  de 
Dutch  Interior 

WiLLAERTs,  Adam 
River  Scene  with   Boats 

Eeckhout,  Gerbrandt  van  den 
Destruction  of  Sodom  and  Gommorah 

MuRANT,  Emanuel 

The  Farm 

PoussiN,  Gaspard 

Landscape  and  Figures 

CuYP,  Aelbert 
Landscape  with  Cattle 

Reynolds,  Sir  Joshua,  P.  R.  A. 
Portrait  of  a  Lady 

Vincent,  George 
Landscape 

RoMNEY,   George 
Lady   Hamilton 

Crome,  John  (called  Old  Crome) 
The  Landing 

CoTMAN,  John   Sell 
English   Village 

Nasmyth,  Peter  (called  Patrick) 
Landscape 

Van  Dyck,  Sir  Anthony 
Baron  Arnold  de  Roy 

Wilson,  Richard,  R.  A. 
Italian    Landscape 

JoNGKiND,  John  Barthold 

Sunset  on  the  Scheldt 

Reynolds,  Sir  Joshua,  P.  R.  A. 
Master  Hare 

Reynolds,  Sir  Joshua,  P.  R.  A. 
Portrait  of  Mrs.  Angelo 

Blanchard,  Jacques 
Venus  and  Adonis 

HuYSMANs,  Cornelius 
Landscape  with  Figures 


^Indicates  pictures  heretofore  presented 


XI 


Constable,  John,  R.  A. 
Mrs.  Pulham 

Lawrence,  Sir  Thomas,  P.  R.  A. 
Lady    Ellenborough 

Gainsborough,  Thomas,  R.  A. 
English    Landscape 

Philip,  John,  R.  A. 
Gossips  at  the  Well 

Mytens,   Daniel 
Portrait  of  King  Charles  1 


Blakelock,  Ralph  A. 
Indian  Encampment 

Martin,  Homer  D. 
Sand  Dunes,  Lake  Ontario 

Wyant,  Alexander  H. 
Looking  Towards  the  Sea 

Wyant,  Alexander  H. 
Landscape 

Wyant,  Alexander  H.. 
Broad  Silent  Valley 


I  would  ask  the  privilege,  from  time  to  time,  to  exchange  for 
others  in  the  above-named  collection  such  paintings  as  I  may  now 
have,  or  may  hereafter  acquire,  that  may  improve  the  harmony 
and  quality  of  the  collection,  each  of  such  exchanges  to  be  made 
with  consent  and  approval  of  the  Trustees. 

In  connection  with  the  above,  and  for  the  encouragement  of 
the  art  of  painting  in  this  country,  1  will  also  give  One  Hundred 
Thousand  Dollars  in  cash,  to  be  invested  by  the  authorities  of  the 
Museum  in  such  securities  as  their  judgment  may  deem  advisable, 
the  income  to  be  expended  for  paintings  by  persons  now  living  who 
are,  or  may  be  at  the  time  of  purchase,  citizens  of  the  United  States 
of  America,  or  by  those  hereafter  born,  who  may  at  the  time  of 
purchase  have  become  citizens  thereof. 

And  I  desire  to  empower  the  authorities  of  the  Museum,  as  now 
or  hereafter  constituted,  to  exchange  or  sell  any  painting  or  paint- 
ings purchased  with  the  income  of  the  fund  of  One  Hundred  Thou- 
sand Dollars;  such  paintings  to  be  exchanged  for,  or  proceeds  of 
paintings  sold  to  be  expended  for,  another  painting  or  paintings  by 
citizens  of  the  United  States  of  America,  as  limited  in  last  preceding 
paragraph. 

To  make  the  One  Hundred  Thousand  Dollars  immediately 
available,  and  to  insure  an  income  of  five  thousand  dollars  for  some 
years  to  come,  I  desire  to  give  an  additional  Twenty-five  Thousand 
Dollars,  so  that  five  thousand  dollars  may  be  spent  for  paintings 
during  the  year  1906,  and  from  the  twenty  thousand  dollars  remain- 
ing there  may  be  taken  sufficient  to  make  up  each  year  such 
amount  as  the  income  of  the  One  Hundred  Thousand  Dollars  may 
fall  short  of  five  thousand  dollars. 

In  connection  with  the  above,  I  also  offer  the  choice  of  all  of  the 
following  twelve  paintings  by  living  American  artists,  to  be  hung 
as  the  authorities  of  the  Museum  may  elect: 

Two  by  Winslow  Homer,  choice  of  two  out  of  three,  "Northeaster," 
"Search  Light,  Santiago  de  Cuba,"  "Cannon  Rock";  one  by  Horatio 
Walker,  "The  narrower";  one  by  J.  Alden  Weir,  "Green  Bodice";  one 
by  Elliott  Daingerfield,  "Slumbering  Fog";  one  by  Abbott  H.  Thayer, 
"Young  Woman";  two  by  George  H.  Bogert,  "Chale  Church,  Isle  of 
Wight,  England,"  "October  Moonlight"  (Hallgarten  prize) ;  one  by 
Henry   W.  Ranger,  "Spring  Woods";   one  by  Louis  Paul  Dessar, 


Xll 


"Evening";  one  by  F.  Ballard  Williams,  "Passaic  River";  one  by 
D.  W.  Tryon,  choice  of  "Moonlight"  or  "Autumn." 

1  believe  the  paintings  in  Gallery  15  are  all  worthy  examples 
of  and  executed  by  artists  to  whom  they  are  attributed.  Never- 
theless, to  provide  for  contingency  of  dispute  as  to  authenticity, 
I  will,  in  connection  with  the  above-named  gifts,  present  to  the 
Museum  an  additional  Twenty-five  Thousand  Dollars,  to  be  in- 
vested as  the  authorities  may  elect,  and,  in  case  of  dispute  and 
unfavorable  decision  by  experts  (to  be  selected  by  the  Museum) 
in  regard  to  any  painting  or  paintings,  during  ten  years  from  the 
date  hereof,  I  will,  with  the  consent  and  approval  of  the  authorities, 
withdraw  and  replace  with  others  such  disputed  and  discredited 
painting  or  paintings,  if  any;  and  in  case  I  cannot  find  the  painting 
or  paintings  in  my  own  collection,  or  cannot  remove  them  without 
disarrangement  of  my  home,  1  to  be  privileged  to  use  all  or  part  of 
this  fund  of  Twenty-five  Thousand  Dollars  toward  the  purchase  of 
the  newly  selected  painting  or  paintings,  allowing  the  Museum  such 
amount  as  the  disputed  painting  or  paintings  can  be  sold  for. 

In  case  of  my  death,  the  authorities  of  the  Museum  shall  be  like- 
wise privileged  to  sell  such  disputed  and  discredited  painting  or 
paintings,  if  any,  using  the  proceeds  thereof  and  the  fund  of  Twenty- 
five  Thousand  Dollars,  with  its  accumulated  interest,  or  so  much 
thereof  as  needed,  to  pay  for  the  picture  or  pictures  purchased. 

After  ten  years  this  Twenty-five  Thousand  Dollars  (or  so  much 
as  may  not  have  been  expended  as  above  provided),  together  with 
its  accumulated  interest,  shall  be  added  to  the  heretofore  named 
gift  of  One  Hundred  Thousand  and  so  much  as  remains  of  the 
Twenty-five  Thousand  Dollar  gift  provided  to  purchase  paintings 
during  the  year  1906,  etc.,  and  from  the  income,  paintings  by  living 
American  artists  to  be  likewise  purchased. 

Very  truly  yours, 

George  A.  Hearn. 


RESOLUTION  OF  ACCEPTANCE 

At  a  meeting  of  the  Board  of  Trustees,  held  January  26,  1906, 
the  following  resolution  was  adopted  in  regard  to  the  gift  of  Mr. 
George  A.  Hearn: 

Resolved,  That  the  Trustees  of  the  Metropolitan  Museum  of 
Art  accept  the  munificent  gift  of  Mr.  George  A.  Hearn,  up>on  the 
terms  contained  in  his  letter  of  January  1 1,  1906,  and  in  accepting 
it  they  desire  to  put  on  record  their  warm  appreciation  of  Mr. 
Heam's  generosity  to  the  Museum  and  through  the  Museum  to  the 
people  of  this  city. 

The  collection  of  pictures,  which  has  been  assembled  in  the 
gallery  of  the  Museum,  and  already  bears  his  name,  is  a  notable  one. 
We  recognize  his  generous  intention  of  making  it  even  more  repre- 

xiii 


sentative  from  time  to  time.  We  particularly  welcome  his  gift 
of  American  pictures,  and  the  generous  endowment  which  he  has 
made  for  the  acquisition  of  contemporary  American  paintings. 

We  recognize  the  careful  forethought  with  which  he  has  guarded 
his  gift,  by  providing  for  the  withdrawal  of  any  picture  which  on 
expert  opinion  shall  not  be  deemed  authentic,  and  by  permitting 
the  exchange  of  American  pictures  hereafter  acquired  for  those 
of  greater  merit,  whenever  the  opportunity  for  such  a  favorable 
exchange  shall  present  itself. 

We  trust  he  may  realize  for  himself  some  of  the  pleasure  and 
satisfaction  which  his  fellow  Trustees  and  his  fellow  citizens  find 
in  this  important  addition  to  our  collections  and  our  resources. 


xiv 


CATALOGUE 


NOTE 
The    illustrations    are    from    negatives   made   ex- 
pressly for  this  catalogue  by  Mr.  Charles  Balliard 


BARON  ARNOLD  DE  ROY  OF  ZUIDERWYN 

SIR   ANTHONY    VAN    DYCK 


SIR  ANTHONY  VAN  DYCK 
1 599-1641 

BARON  ARNOLD  DE  ROY  OF  ZUIDERWYN 

(frontispiece) 

At  fifteen  Van  Dyck  entered  the  studio  of 
Rubens,  and  soon  became  his  principal  assistant, 
remaining  there  four  years.  Then  for  five  years, 
under  the  spell  of  Titian,  he  traveled  and  worked  in 
Italy,  where  he  was  kept  busy  painting  portraits  of 
the  nobility.  Charles  I  invited  him  to  England, 
where  he  remained  for  about  seven  years,  industri- 
ously at  work.  He  painted  nineteen  portraits  of  the 
King,  seventeen  of  his  queen,  and  several  of  his 
children.  Notwithstanding  the  gayety  and  splen- 
dor of  his  life  his  productions  are  numerous,  one 
half  of  which  are  held  in  England.  He  was  dis- 
tinctly a  portrait  painter,  giving  a  courtly  grace 
and  dignity  to  his  sitters  which  found' many  imita- 
tors. He  died  at  forty-two,  and  was  buried  in  St. 
Paul's  Cathedral,  London. 

Canvas.     H.  76  in.     W.  48  in. 


PEACE  AND  PLENTY 

GEORGE   INNESS,   N.  A. 


GEORGE  INNESS,  N.  A. 
1 825- 1 894 

PEACE  AND  PLENTY 

This  picture  belongs  to  the  middle  period  of  the 
artist's  career,  when  his  temperamental  qualities 
were  struggling  for  expression  against  the  conven- 
tionality of  the  time.  While  there  is  abundant  in- 
cident set  down  with  care,  the  pastoral  scene  is 
marked  by  breadth,  vigor  and  honesty  and  a  lofty 
love  of  nature.  He  has  invested  it  with  his  own 
sympathetic  spirit,  and  its  peace  and  harmony 
steal  over  the  contemplative  observer  like  an  ex- 
quisite dream.  Possessing  the  spirit  of  the  in- 
vestigator, he  looked  below  the  surface  of  things, 
and  his  pictures  are  fraught  with  a  message  from 
the  fullness  of  his  heart.  His  art,  in  which  he 
was  wholly  self-taught,  was  his  life,  and  he  was 
intensely  in  earnest  in  his  effort  to  express  what 
he  saw  and  felt.  His  death,  while  on  a  visit  to 
Scotland  in  1894,  assumed  the  importance  of  a 
national  loss,  so  highly  was  he  esteemed  and  so 
thoroughly  did  his  art  express  the  landscape  ideal 
of  the  country. 

Canvas.    H.yyin.     W.  112  in.  Signed.     Dated  1865. 


REV.  HUMPHREY  BURROUGHS 

THOMAS    GAINSBOROUGH,    R.    A. 


THOMAS  GAINSBOROUGH,  R.  A. 

1 727- 1 788 

REV.  HUMPHREY  BURROUGHS 

Developing  a  talent  for  art  at  an  early  age, 
the  future  great  rival  of  Reynolds  was  sent  to 
London,  at  fourteen,  to  study,  and  after  four 
years'  stay  returned  to  his  native  Suffolk  an 
accomplished  painter.  He  is  one  of  the  few 
painters  that  were  equally  great  in  landscape 
and  portrait  art.  Ruskin  called  him  the  great- 
est colorist  since  Rubens,  and  found  his  hand 
as  light  as  the  sweep  of  a  cloud  and  as  swift  as 
the  flash  of  a  sunbeam.  Whatever  he  did  was 
always  marked  by  great  sensibility  and  by  a 
profound  sense  of  beauty. 

The  Rev.  Humphrey  Burroughs  here  por- 
trayed was  a  brother  of  the  artist's  mother,  and 
presided  over  the  Sudbury  Grammar  School, 
where  the  boy  was  sent  in  his  youth. 

Canvas.     H.  28^  in.  W.  23^  in. 


10 


COAST  SCENE,  NORMANDY 

RICHARD    PARKES    BONINGTON 


13 


RICHARD  PARKES  BONINGTON 

1801-1828 

COAST  SCENE,  NORMANDY 

Of  English  nationality,  Bonington's  art  was 
developed  under  French  influence,  his  father  hav- 
ing moved  to  Paris,  where  the  boy  came  under  the 
instruction  of  Baron  Gros.  He  soon  made  a  repu- 
tation by  his  water  colors  of  street  and  river 
scenes,  which  sold  rapidly.  When  twenty-one  he 
visited  Italy,  which  improved  his  reputation.  Al- 
though the  French  contended  for  his  pictures  he 
was  unknown  in  England  until  he  returned  to 
London  to  die,  having  contracted  consumption. 
He  accomplished  much  in  the  brief  term  of  his 
life,  being  known  both  as  a  landscape  and  figure 
painter.     One  of  his  pictures  is  in  the  Louvre. 

Canvas.     H.  3iin.     W.  48  in. 


14 


WILLOWS  BY  THE  WATER  COURSES 

JAMES    STARK 


COAST  SCENE 

JOHN    SELL   COTMAN 


17 


JAMES  STARK 
1 794- 1 859 

WILLOWS  BY  THE  WATER  COURSES 

One  of  the  best-known  pupils  of  Crome,  Stark, 
like  his  fellow  pupil  Vincent,  is  identified  with  the 
Norwich  group  of  painters.  After  his  period  of 
instruction  he  spent  some  time  in  London,  where 
he  gained  considerable  success,  then  returned  to 
Norwich,  where  he  remained  for  twelve  years  and 
where  he  published  a  meritorious  work  on  "The 
Scenery  of  the  Rivers  of  Norfolk."  He  also  lived 
for  some  years  at  Windsor,  finding  many  subjects 
there  to  his  liking.  His  style  follows  that  of  his  mas- 
ter Crome,  but  lacks  his  force  and  richness  of  color. 

Canvas,    H.  17^^  in.    W.  23  in. 


JOHN  SELL  COTMAN 
1 782- 1 842 

COAST  SCENE 

The  son  of  a  linen  merchant,  Cotman  received 
advantages  of  education  in  his  youth,  and  being  of 
handsome  appearance  and  possessing  agreeable 
manners,  he  was  welcomed  at  the  country  houses 
of  the  gentry  about  Norwich,  whose  children 
he  taught,  and  whose  parks  and  country  seats  he 
painted  for  them.  He  was  a  man  of  great  ver- 
satility. Early  in  his  career  he  followed  portrait 
painting;  then  for  twelve  years  he  settled  at  Yar- 
mouth', where  he  painted  studies  of  the  sea 
coast.  Later  he  was  afflicted  with  great  ner- 
vous depression  which  brought  on  mental  aberration. 

Panel.     H.  i6>^  in.    W.  ly^^in. 

18 


THE  STORM 

RICHARD    WILSON,    R.    A. 


21 


RICHARD  WILSON,  R.  A 

1 713-1782 

THE  STORM 

Born  in  Wales,  Wilson,  until  he  was  thirty-six 
years  of  age,  devoted  himself  to  portrait  painting 
when  he  decided  to  visit  Italy.  There,  upon  the 
advice  of  Zuccarelli,  he  abandoned  portrait  for 
landscape  art.  Studying  the  old  masters  with 
enthusiasm,  he  formed  his  style  upon  that  of 
Claude,  Poussin  and  Salvator  Rosa.  During  the 
six  years  he  remained  in  Rome  he  devoted  himself 
wholly  to  landscapes  in  the  classical  style,  and 
achieved  considerable  reputation.  His  pictures 
do  not  follow  nature  closely,  but  are  poetic  remin- 
iscences of  the  land  in  which  his  spirit  found  de- 
light. He  sought  to  convey  an  impression  of 
grandeur  by  an  agreeable  arrangement  of  the 
parts  of  his  composition  and  by  the  suppression 
of  what  he  deemed  ignoble.  Sensitive  to  beauty, 
his  pictures  have  an  elegance  that  reflects  the  re- 
finement of  his  native  taste.  The  examples  in 
this  collection  are  thoroughly  characteristic  and 
show  his  nobility  of  style  and  pleasing  color. 

Canvas.     H.  41  in.     W.  53  in. 


22 


LANDSCAPE 

SIR   AUGUSTUS    WALL   CALLCOTT,    R.    A. 


25 


SIR  AUGUSTUS  WALL  CALLCOTT,  R.  A. 

1 779- 1 844 

LANDSCAPE 

In  his  boyhood  Callcott  was  a  choir-boy  at 
Westminster  Abbey,  but  at  eighteen  took  up  the 
study  of  art  at  the  Royal  Academy,  being  for  a 
time  a  pupil  of  Hoppner.  Beginning  as  a  portrait 
painter,  he  soon  turned  to  landscape  as  more  con- 
genial, which  he  followed  for  the  rest  of  his  career 
save  for  the  production  of  a  couple  of  historical 
compositions.  Of  courtly  manners,  his  studio 
was  frequented  by  the  fashionable  world,  and  upon 
the  accession  of  Victoria  he  was  knighted.  Call- 
cott's  art  was  pleasing  and  easily  comprehended 
and  he  was  flooded  with  commissions,  hence,  to 
meet  the  demand,  he  turned  out  pictures  with- 
out reference  to  nature.  His  best  work,  dealing 
with  English  landscape,  was  produced  before  his 
marriage  at  fifty,  and  shows  serious  study  and 
firm  technique. 

Canvas.     H.  27^  in.  W.  35^  in. 


26 


PORTRAIT  OF  THE  ARTIST 

GEORGE    HENRY    HARLOW 


29 


GEORGE  HENRY  HARLOW 

1787-1819 

PORTRAIT  OF  THE  ARTIST 

Had  not  Harlow  died  at  the  early  age  of  thirty- 
one  it  is  thought  he  might  have  become  a  power- 
ful rival  of  Lawrence.  Giving  early  indication  of 
great  artistic  talent,  and  being  a  handsome  youth, 
he  was  much  flattered,  which  brought  a  distaste 
for  serious  study,  and  retarded  his  development. 
After  some  time  with  lesser  painters  he  was 
placed  with  Lawrence  by  his  mother.  After  a 
stay  of  eighteen  months  they  quarreled  and  Har- 
low at  sixteen  set  up  a  studio  for  himself.  During 
his  term  in  Lawrence's  studio,  he  had  acquired 
something  of  that  painter's  manner  of  posing  as 
well  as  his  process  of  working,  which  served  him 
well.  He  painted  many  portraits  of  actors  and 
public  men,  and  won  a  distinguished  reputation  in 
his  day. 

Canvas.     H.  29  in.     W.  24  in. 


30 


MRS.  ARNOLD 

SIR   JOSHUA    REYNOLDS,    P.    R.    A. 


33 


SIR  JOSHUA  REYNOLDS,  P.  R.  A. 

1723-1792 

MRS.  ARNOLD 

The  foremost  of  the  great  English  portrait 
painters  of  the  eighteenth  century  began  to  prac- 
tice his  profession  at  twenty-three.  At  twenty- 
six  he  went  to  Italy,  where  he  spent  three  years 
studying  the  work  of  the  old  masters.  Upon  re- 
turning to  London,  he  established  himself  as  a 
portrait  painter,  in  spite  of  the  denunciation  of 
his  style  of  work  by  other  artists,  and  soon  won 
fame  and  fortune.  At  thirty-six  he  was  obliged 
to  keep  a  list  of  applicants  for  portraits  and  take 
them  in  turn,  receiving  as  many  as  six  each  day. 
All  of  the  men  and  women  prominent  in  English 
society  in  his  time  came  to  him.  Mrs.  Arnold,  the 
subject  of  this  portrait,  sat  in  1757.  He  painted 
with  great  rapidity  between  the  hours  of  eleven 
and  four.  He  allowed  only  about  four  hours  to  a 
portrait,  and  often  sent  the  canvases  home  before 
they  were  dry. 

Canvas.     H.  28^2  in.  W.  24  in. 


34 


BRIDGE  ON  THE  STOUR 

JOHN    CONSTABLE,    R.    A. 


37 


JOHN  CONSTABLE,  R.  A. 

1776-1837 

BRIDGE  ON  THE  STOUR 

While  Constable's  foremost  contemporaries 
in  landscape  art  built  on  foreign  models,  Crome 
following  Ruysdael  and  Hobbema,  and  Turnerfol- 
lowing  Claude,  he  himself  was,  first  and  last,  dis- 
tinctly English  in  his  art.  He  never  visited  Italy, 
but  was  content  with  the  simple  scenes  with  which 
he,  a  miller's  son,  had  been  familiar  from  child- 
hood— the  streams  and  meadows,  the  locks  and 
bridges  of  his  native  Suffolk.  By  close  study  of 
nature  he  freed  himself  from  all  influence  of  the 
traditional  schools,  and  opened  a  way  for  modern 
landscape  art.  When  forty-five  he  produced  his 
masterpiece," The  Haywain,"  which  was  exhibited 
at  the  Royal  Academy  without  finding  a  purchaser. 
Three  years  later  it  was  shown  in  Paris, creating  a 
profound  impression  at  the  Salon,  being  awarded 
a  gold  medal.  Thoroughly  English,  in  that  it  ex- 
presses the  spirit  of  rural  England,  Constable's 
art  exerted  great  influence  in  the  development  of 
the  group  of  landscape  men  of  1830. 

Canvas.     H.  21  in.     W.  32^  in. 


38 


MRS.  REID  AS  A  SULTANA 

ROBERT    EDGE    PINE 


41 


ROBERT  EDGE  PINE 

1 742- 1 790 

MRS.  REID  AS  A  SULTANA 

Pine,  who  was  the  son  of  an  English  engraver, 
achieved  brilliant  popular  success  at  eighteen  by 
an  historical  painting  "The  Surrender  of  Calais," 
and  two  years  later  received  a  prize  for  his  "  King 
Canute."  With  this  record,  when  forty-two  years 
of  age,  he  came  to  Philadelphia  with  the  purpose  of 
painting  a  great  historical  composition  containing 
portraits  of  men  who  had  figured  conspicuously  in 
the  Revolution.  He  secured  the  consent  of  Wash- 
ington to  give  him  sittings,  but  the  work  made 
little  progress,  and  was  finally  abandoned.  Re- 
ceiving but  little  encouragement  for  his  project,  he 
turned  his  attention  to  painting  portraits,  a  field  in 
which  he  was  more  successful. 

Canvas.     H.  341^  in.     W.  27  in. 


42 


LADY  WITH  A  CORAL  NECKLACE 

JOHN    HOPPNER,    R.    A. 


45 


JOHN  HOPPNER,  R.  A. 

1758-1810 

LADY  WITH  A  CORAL  NECKLACE 

The  son  of  one  of  the  German  Ladies-in-Wait- 
ing,  Hoppner's  life  was  spent  in  the  shadow  of  the 
Court.  As  a  boy  he  was  a  chorister  in  the  Chapel 
Royal,  and  at  sixteen  took  up  the  study  of  art  at 
the  Royal  Academy  where,  three  years  later,  he 
was  given  a  medal  for  drawing  and  afterward  the 
Academy's  highest  award,  a  gold  medal  for  histor- 
ical painting.  At  twenty-two  he  was  established 
as  a  portrait  painter,  and  at  thirty  was  styled 
painter  to  the  Prince  of  Wales.  For  eighteen 
years  there  was  the  keenest  rivalry  for  fashionable 
patronage  between  himself  and  Lawrence,  who, 
though  ten  years  younger,  had  been  made  court 
painter  to  the  King.  Possessing  a  winning  per- 
sonality and  agreeable  social  qualities,  Hoppner 
achieved  great  popular  success.  While  he  met 
the  demand  that  he  should  flatter  his  sitters,  he 
did  produce  interesting  and  life-like  portraits. 
The  necklace  of  coral  was  resorted  to  by  him 
for  its  brilliant  color,  and  has  important  bearing 
on  the  tone  of  the  flesh-painting;  it  also  draws  the 
eye  to  the  face. 

Canvas.     H.  28>^  in.     W.  ^y/z  in. 


46 


SIR  WILLIAM  TEMPLE 

SIR    PETER    LELY 


49 


SIR  PETER  LELY 

1618-1680 

SIR  WILLIAM  TEMPLE 

Coming  to  England  in  1643,  when  but  twenty- 
six,  and  in  the  train  of  WiUiam  of  Orange,  Lely,  a 
native  of  Westphalia,  found  an  opportunity  to 
step  into  the  place  left  vacant  by  the  death  of  Van 
Dyck  two  years  before.  He  was  made  court 
painter  by  Charles  1,  holding  the  same  position 
under  Cromwell  and  the  second  Charles,  until 
succeeded  by  Kneller.  For  thirty  years  Lely  was 
the  most  popular  painter  in  England. 

Sir  William  Temple  (1628- 1699)  was  an  am- 
bassador at  Brussels  and  The  Hague  and  nego- 
tiated with  the  Dutch  and  Swedes  the  triple 
alliance  against  Louis  XIV,  in  1668.  He  declined 
the  position  of  Secretary  of  State,  and  retiring  to 
his  home  in  Surrey,  spent  the  after  part  of  his  life 
in  writing  his  Memoirs  and  political  treatises. 
Swift  the  humorist,  who  afterward. became  Dean, 
acting  as  his  secretary. 

Canvas.     H.  47  in.     W.  38  in. 


50 


PEG  WOFFINGTON 

WILLIAM    HOGARTH 


53 


WILLIAM  HOGARTH 
1 697- 1 764 

PEG  WOFFINGTON 

Hogarth,  the  great  satirist  of  English  painting, 
who  loved  to  portray  the  foibles  and  frailties 
of  fashionable  life,  was  also  successful  as  a  portrait 
painter.  The  son  of  a  school  master,  he  was" 
apprenticed  for  seven  years  to  an  engraver. 
When  twenty-three  he  set  up  for  himself,  at- 
tracting attention  by  his  departures  from  estab- 
lished lines.  Instead  of  painting  dead  saints 
and  martyrs,  so  long  in  fashion,  he  presented  the 
drama  of  living  sinners  in  a  series  of  adventures, 
with  great  realism  and  interest,  his  work  seeming 
like  a  novel  in  paint.  His  portraits  are  marked 
by  the  same  vigorous  truth. 

Margaret,  generally  called  Peg  Woffmgton, 
was  a  celebrated  Irish  actress,  born  in  Dublin, 
who  achieved  success  in  London  at  twenty  as  Sir 
Harry  Wildair,  a  part  which  Garrick  had  made 
popular.  She  was  called  the  handsomest  woman 
on  the  stage  in  her  time,  but  when  thirty-nine  was 
stricken  with  paralysis  on  the  Covent  Garden 
stage,  while  playing  Rosalinda. 

Canvas.     H.  28  in.     W.  24  in. 


54 


LADY  MARY   BERKELEY 

SIR    GODFREY    KNELLER 


57 


SIR  GODFREY   KNELLER 
1 646- 1 723 

LADY  MARY   BERKELEY 

Kneller,  who  followed  Lely  as  English  Court 
painter,  was  born  in  Liibeck  but  studied  in  Hol- 
land, where  he  was  a  pupil  of  Bol,  and  for  a  time  of 
Rembrandt,  then  later  in  Italy.  He  came  to 
England  when  twenty-eight  years  of  age,  and 
through  the  patronage  of  Charles  II  became  the 
fashionable  painter  of  his  time.  So  greatly  was 
he  esteemed  that  no  less  than  ten  sovereigns  sat 
to  him,  including  Charles  II,  James  II,  William 
HI,  Mary,  Louis  XIV,  Peter  the  Great,  Queen 
Anne,  Charles  VI,  of  Spain  and  George  I.  He 
undertook  the  portrait  of  the  last  named  when  he 
was  nearly  seventy  years  of  age.  The  influence 
he  exerted  on  the  art  of  his  time  was  very  great. 

Canvas.     H.  28  in.     W.  24  in.         Signed.     Dated  1700. 


58 


WILLIAM  FORSYTH 

SIR    HENRY    RAEBURN 


6i 


SIR  HENRY  RAEBURN 
1756-1823 

WILLIAM  FORSYTH 

In  the  beginning  Raeburn  developed  himself 
against  heavy  odds,  but  at  twenty-two,  through 
his  marriage,  he  acquired  means  to  go  to  London 
where  he  was  admitted  to  the  studio  of  Reynolds. 
Recognizing  his  ability,  Reynolds  advised  him  to 
go  to  Rome.  He  remained  in  Italy  two  years, 
then  at  thirty-one  returned  to  Edingburgh  where 
he  soon  found  full  employment  in  portraiture, 
the  foremost  men  and  women  of  the  time  becom- 
ing his  sitters.  However,  he  was  more  successful 
with  men  than  with  women.  Personally  he  was 
thoroughly  well-liked  and  enjoyed  uninterrupted 
success,  receiving  many  honors  after  he  had  en- 
tered middle  life,  but  these  he  did  not  live  long  to 
enjoy. 

William  Forsyth  was  an  eminent  Scotch  horti- 
culturalist  who  was  appointed  Superintendent 
of  Kensington  Gardens.  He  wrote  a  book  on  the 
Management  of  Fruit  Trees. 

Canvas.     H.  29  in.     W.  24^4  in. 


62 


•  •  »  t .    •   • 


H.  R.  H.  WILLIAM  AUGUSTUS 
DUKE  OF  CUMBERLAND 

SIR   JOSHUA    REYNOLDS,   P.   R.  A. 


65 


SIR  JOSHUA  REYNOLDS,  P.  R.  A, 

1 723-1 792 

H.  R.  H.  WILLIAM  AUGUSTUS 
DUKE  OF  CUMBERLAND 

Although  portraying  a  military  commander, 
Reynolds  presents  here,  as  always,  the  refined  and 
admirable  side  of  English  society.  He  never 
gives  us  the  massive  dullness  of  the  Dutch  por- 
traits, but  infuses  them  with  his  own  kindly  na- 
ture, which  may  be  taken  as  one  reason  for  the 
unbounded  popularity  of  the  painter  in  his  life- 
time, and  for  his  portraits  continuing  to  excite  our 
admiration  to-day.  Through  all  the  many  changes 
of  fashion  in  art,  they  still  live  on  to  delight  us. 

The  subject  of  this  portrait  was  the  second  son 
of  King  George  II,  and  commander-in-chief  at  the 
battle  of  Fontenoy,  when  he  was  defeated  by  Mar- 
shall Saxe;  again  he  commanded  at  the  battle  of 
Culloden,  defeating  Prince  Charles  and  the  claims 
of  the  Scotch  Pretender,  and  ending  the  struggle 
of  the  Stuarts  to  regain  the  lost  throne. 

Canvas.     H.  49  in.     W.  39  in. 


66 


<'.  4  i  ^l^i'-K'^ii     I  A  "'- 


MIDDAY  MEAL 

GEORGE    MORLAND 


69 


GEORGE  MORLAND 

1 763- 1 804 

MIDDAY  MEAL 

The  son  of  a  portrait  painter,  George  Mor- 
land's  talent  developed  so  early  that  he  became 
famous  at  sixteen,  receiving  abundant  patronage 
from  engravers,  dealers  and  collectors.  To  gain 
money  from  his  work  his  father  kept  him  a 
prisoner  and  a  slave.  His  productivity  was  enor- 
mous, yet  his  technique  shows  refinement  of  touch 
and  beauty  of  color.  His  subjects  were  always 
chosen  from  low  life,  and  rendered  with  an  air 
of  truth  and  reality.  He  was  the  rustic  painter 
for  the  common  people,  portraying  what  he  saw 
with  wonderful  skill.  So  great  were  his  powers  of 
production  that  during  the  last  eight  years  of  his 
life  his  paintings  numbered  about  eight  hundred, 
in  addition  to  hundreds  of  drawings.  Although 
of  great  talent,  he  sank  to  the  grossest  dissipation, 
which  ended  his  life  at  forty-one. 

Canvas.     H.  27;^  in.      W.  35  in.         Signed.     Dated  1795. 


70 


PORTRAIT  OF  A  LADY 

SIR    WILLIAM    BEECHEY,  R.  A. 


73 


SIR  WILLIAM  BEECHEY,  R.  A. 

1753-1839 

PORTRAIT  OF  A  LADY 

Commencing  with  the  law,  Beechey  abandoned 
this  for  the  study  of  art,  entering  his  career  as  a 
portrait  painter.  Later  he  tried  his  hand  at 
several  subject  pictures,  or  conversation  pieces, 
as  they  were  called,  after  the  manner  of  Hogarth, 
which  he  soon  abandoned  for  portraits,  which  were 
more  in  demand.  Having  been  brought  to  the 
notice  of  King  George  111,  through  the  rejection 
of  a  portrait  sent  to  the  Academy,  he  painted  in 
1793  a  full  length  of  Queen  Charlotte,  who  ap- 
pointed him  her  portrait  painter.  This  settled 
his  fortunes  by  bringing  numerous  commissions. 
He  was  knighted  at  forty-five  for  a  large  eques- 
trian group  of  George  III  reviewing  troops,  which 
is  now  at  Hampton  Court.  'He  excelled  in  por- 
traits of  women  and  children,  his  sitters  including 
many  of  the  people  of  fashion  of  his  day. 

Canvas.     H.  49  in.     W.  39  in. 


74 


A  SEAPORT 

CLAUDE    LORRAIN 


n 


CLAUDE  LORRAIN 
1 600- 1 682 

A  SEAPORT 

From  the  humblest  origin  Claude  rose  to  the 
highest  position  of  fame  and  wealth,  being  hon- 
ored at  thirty-five  as  the  most  distinguished 
painter  of  his  time.  Though  a  slow  worker  he 
was  an  assiduous  one,  and  left  about  four  hun- 
dred paintings  besides  a  large  number  of  drawings 
and  etchings.  He  was  not  a  man  of  robust 
health,  and  after  forty  suffered  greatly  from  gout, 
which  interfered  with  his  long  tramps  in  the 
country.  He  received  numerous  commissions 
from  kings,  popes  and  princes,  but  suffered  from 
frequent  illness,  and  in  the  latter  part  of  his  life 
was  only  able  to  work  two  or  three  hours  a  day. 
The  greatest  part  of  his  life  was  spent  in  Rome, 
where  he  died.  His  influence  on  landscape  art 
was  very  great  and  he  had  a  host  of  imitators, 
but  his  influence  has  long  since  departed  for  the 
reason  that  he  preferred  superficial  effect  to  truth. 

Canvas.     H.  37^^  in.     W.  47)^  in. 


78 


ITALIAN  LANDSCAPE 

RICHARD   WILSON,    R.    A. 


8i 


RICHARD  WILSON,  R.  A. 

1713-1782 

ITALIAN  LANDSCAPE 

Though  he  was  the  principal  contemporary 
landscape  painter  of  Gainsborough,  and  one  of 
the  thirty-six  founders  of  the  Royal  Academy, 
Wilson  found  patronage  of  his  art  so  low  that  he 
was  hardly  kept  from  actual  want.  Had  he  re- 
mained in  Italy  he  would  have  been  highly 
honored,  but  returning  to  England,  this  Welsh 
painter  died  broken-hearted  from  neglect.  Only 
after  his  death  did  his  pictures  fmd  appreciation, 
and  those  poetic  dreams  have  influenced  many 
painters  since  his  day.  Through  all  his  land- 
scapes runs  a  sense  of  peaceful  quiet,  touched 
with  sentiment.  His  marble  temples,  often  in 
ruin,  recall  the  stories  and  legends  of  classic 
Italy,  and  his  wooded  hillsides  with  silvery  water- 
falls suggest  the  abode  of  fauns  and  wood  nymphs. 
Although  he  suffered  pitiable  neglect  during  his 
life,  his  talent  established  him  in  the  first  rank  of 
English  'landscape  painters,  and  in  recent  years 
he  has  become  highly  esteemed. 

Canvas.     H.  34  in.     W.  51  in. 


82 


WINTER  IN  HOLLAND 

ISAAC    VAN    OSTADE 


85 


ISAAC  VAN  OSTADE 
1621-1649 

WINTER  IN  HOLLAND 

Isaac  was  the  youngest  of  several  brothers  of 
the  celebrated  Dutch  painter,  Adrian  Van  Ostade, 
and  also  his  pupil.  In  the  beginning  of  his  career 
Isaac  likewise  portrayed  the  village  carousals  for 
which  his  master  had  gained  great  reputation,  but 
later  he  turned  his  attention  to  Dutch  country 
scenes  or  the  frozen  canals  enlivened  with  figures 
which  he  presented  with  truth  and  power.  During 
his  brief  life  of  twenty-eight  years  he  produced  a 
considerable  number  of  works — Smith  catalogues 
one  hundred  and  twelve — some  of  which  are  to  be 
found  in  the  foremost  European  museums.  His 
pictures  always  exhibit  careful  draughtsmanship 
and  pleasing  color,  and  carry  conviction  as  to  their 
accuracy. 

Canvas.     H.4oin.     W.  60  in. 


86 


A  DUTCH  INTERIOR 

PIETER    DE    HOOCH 


89 


PIETER  DE  HOOCH 
1632-1681 

A  DUTCH  INTERIOR 

From  the  number  of  conscientious  painters 
at  work  in  Holland  during  the  middle  of  the  seven- 
teenth century,  we  are  more  familiar  with  Dutch 
domestic  life  than  with  that  of  other  nations. 
De  Hooch,  like  his  fellow  artists,  Ter  Borch,  Metsu, 
and  Dow,  devoted  himself  to  portraying  the  placid 
domesticity  of  Dutch  interiors,  which  he  rendered 
with  exactitude  and  almost  classic  repose.  His 
pictures  show  fme  draughtsmanship,  refinement 
and  sincerity,  and  there  is  an  absence  of  that 
superfluous  detail  which  marks  the  compositions 
of  some  of  his  fellow  painters.  When  still  life 
is  introduced  it  is  managed  with  great  delicacy, 
while  in  the  treatment  of  light  with  which  he 
envelops  his  interiors  he  was  only  rivaled  by 
Vermeer.  He  placed  his  figures  at  their  daily 
tasks  in  marble-paved  interiors,  with  sunny  vistas 
beyond.  Note  how  well  balanced  his  composition 
is.  The  space  required  for  his  little  domestic 
drama  is  never  large,  his  color  is  always  warm,  and 
the  architectural  lines  are  sufficiently  intricate  to 
interest  the  eye. 

Panel.     H.2iin.     W.  26  in. 


90 


RIVER  SCENE  WITH  BOATS 

ADAM    WILLAERTS 


93 


ADAM  WILLAERTS 
1 577-1664 

RIVER  SCENE  WITH   BOATS 

In  the  sixteenth  century  Antwerp  held  fore- 
most place  as  a  School  of  Art.  Here  Adam 
Willaerts  was  born  the  same  year  as  his  great 
fellow  townsman  Rubens,  whose  after  career 
was  so  brilliant  as  almost  to  obscure  the  light  of 
all  other  painters  of  his  time.  Although  born  in 
the  Flemish  city,  Willaerts  is  classed  with  the 
Dutch  painters,  having  early  taken  up  his  resi- 
dence at  Utrecht,  where  he  pursued  his  studies. 
In  Utrecht  he  won  his  artistic  honors  and  there  he 
finally  died  at  an  advanced  age.  The  date  of 
his  death  is  somewhat  uncertain.  He  became 
a  member  of  the  Artists'  Guild  of  that  city,  and  was 
one  of  its  influential  managers  for  nearly  twenty 
years.  He  devoted  himself  to  painting  land- 
scapes, river  scenes,  village  markets  and  merry- 
makings. 

Panel.     H.2oin.     W.  33  in.  Signed.     Dated  1645. 


9^4 


THE  FARM 

EMANUEL    MURANT 


DESTRUCTION  OF  SODOM  AND  GOMORRAH 

GERBRANDT  VAN  DEN  EECKHOUT 


97 


EMANUEL  MURANT 
1 622- 1 700 

THE  FARM 

Murant,  who  belongs  to  the  minor  class  of 
Dutch  painters,  was  born  at  Amsterdam  and  be- 
came a  pupil  of  Philips  Wouverman.  For  his  sub- 
jects he  chose  dilapidated  farm  buildings  and 
street  scenes,  which  he  rendered  with  the  careful 
exactitude  manifest  in  all  Dutch  painting.  His 
works  are  somewhat  rare. 

Canvas.     H.  14  in.     W.  i8>^  in. 


GERBRANDT  VAN  DEN  EECKHOUT 
1 62 1 - 1 674 

DESTRUCTION  OF  SODOM  AND  GOMORRAH 

When  misfortune  overtook  Rembrandt  and 
he  found  himself  involved  in  financial  difficulties, 
to  add  to  his  income  he  opened  his  studio  to  pupils, 
receiving  considerable  sums  for  his  instruction. 
Among  the  many  talented  pupils  who  sat  at  his 
feet  was  van  den  Eeckhout,  whose  works  of  all  the 
school  most  nearly  approach  those  of  the  master 
in  subject  and  composition.  So  closely  has  he  fol- 
lowed him  in  some  of  his  Biblical  subjects  that 
the  works  of  the  pupil  have  been  taken  for  those 
of  the  master,  though  he  lacks  his  gifts  of  color. 

Panel.     H.  i4in.     W.  20  in. 

.98 


LANDSCAPE  AND  FIGURES 

GASPARD   POUSSIN 


lOI 


GASPARD   POUSSIN 
1613-1675 

LANDSCAPE  AND    FIGURES 

When  Nicolas  Poussin,  the  great  French  painter, 
had  won  success  in  Rome,  he  married  a  daughter 
of  a  French  family  living  there  by  the  name  of 
Dughet,  and,  at  the  same  time,  adopted  Gaspard,  the 
young  brother  of  his  wife.  Taking  the  painter's 
name,  Gaspard  became  his  pupil  as  well,  and  by 
painting  landscapes  in  the  style  of  his  master 
won  great  success.  Later  his  manner  became 
less  severe  and  was  marked  by  greater  freedom 
and  warmth  than  that  of  Poussin.  He  strove 
for  vivid  atmospheric  effects,  which  led  him  to 
paint  land  storms  which  became  celebrated.  He 
worked  rapidly,  and  left  a  large  number  of  pictures 
at  his  death.  His  life  was  spent  in  Rome,  his  na- 
tive city. 

Canvas.     H.  35  in.     W.  57  in. 


102 


LANDSCAPE  WITH  CATTLE 

AELBERT    CUYP 


105 


AELBERT  CUYP 

1605-1691 
» 

LANDSCAPE  WITH  CATTLE 

In  the  Academy  of  Painting  at  Dordrecht, 
founded  by  his  father,  who  was  a  portrait  and 
landscape  painter  of  talent,  Aelbert  Cuyp  began  his 
studies.  In  the  early  part  of  his  career  he  fol- 
lowed the  style  of  his  father,  but  later  turned  to 
the  Dutch  polders,  with  their  fine  cattle,  for  his 
subjects.  But  it  is  not  his  painting  of  cattle  on 
which  his  fame  rests,  but  on  the  splendor  of  light 
which  envelops  them.  He  loved  the  mellow  light 
of  evening,  or  the  liquid  aerial  envelope  of  a  warm 
misty  day,  and  in  rendering  these  effects  he  em- 
ulated De  Hooch  and  Vermeer,  but  chose  his  sub- 
jects out-of-doors.  Among  landscape  painters  he 
had  no  rivals,  except  Claude,  in  rendering  the  golden 
vibrating  light  of  sunset.  Although  he  painted 
other  subjects  his  best  work  is  found  in  the  pictures 
of  cattle  and  herdsmen  on  the  banks  of  the  Meuse, 
which  he  lifted  above  the  commbnplace  by  his 
poetical  treatment. 

Canvas.     H.  43  in.     W.  70  in.  Signed. 


106 


PORTRAIT  OF  A  LADY 

SIR   JOSHUA    REYNOLDS,    P.    R.    A. 


109 


SIR  JOSHUA  REYNOLDS,  P.  R.  A. 
1 723- 1 792 

PORTRAIT  OF  A  LADY 

The  portraits  of  Reynolds,  Gainsborough, 
Romney,  Raeburn  and  Hoppner  present  such  a 
varied  vision  of  men  and  women  of  the  eighteenth 
century  that  we  can  read  from  them  the  social 
history  of  their  day.  The  painters  pictured 
society  about  them  and  covered  a  wide  range 
including  representatives  of  the  army  and  navy, 
politicians  and  lawyers,  statesmen  and  philosophers, 
as  well  as  the  popular  men  and  women  of  the 
stage,  and  others  famed  for  beauty  and  chivalry 
in  private  life.  Is  it  strange,  then,  if  here  and 
there  a  sitter,  as  in  the  present  instance,  remains 
unidentified,  the  portrait  having  been  lost  in  ob- 
scurity for  a  century  or  more?  Whether  the  sub- 
ject be  known  or  unknown,  it  is  the  art  of  these 
portraits  that  interests  us  to-day,  since  all  are 
touched  with  the  imagination  of  the  painter  and 
reveal  a  sense  of  beauty. 

Canvas.     H.  29  in.     W.  24  in. 


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LANDSCAPE 

GEORGE    VINCENT 


"3 


GEORGE  VINCENT 
1 796-1 832 

LANDSCAPE 

Another  member  of  the  Norwich  School,  this 
talented  pupil  of  Crome,  began  to  exhibit  his  work 
at,  fifteen  and  made  rapid  progress  for  several 
years  after.  At  twenty-one  he  appeared  in  the 
London  Exhibitions  and  later  settled  in  the 
Metropolis,  painting  scenes  along  the  River 
Thames,  which  won  for  him  great  favor  with 
patrons.  Marrying  soon  after  his  settling  in  Lon- 
don, he  at  once  became  troubled  by  financial 
difficulties, and  his  work  greatly sufi'ered  in  quality; 
his  career,  begun  so  brilliantly,  fell  into  eclipse, 
until,  at  the  time  of  his  death,  he  had  been  wholly 
lost  sight  of.  His  style  though  based  on  that  of 
Crome  is  more  varied.  Later,  like  Constable,  he 
chose  subjects  in  sunlight  with  luminous  pearly 
skies  and  broad  masses  of  shadow. 

Canvas.     H.  25  in.     W.  34^  in. 


114 


LADY  HAMILTON 

GEORGE    ROMNEY 


117 


GEORGE  ROMNEY 

1 734- 1 802 

LADY  HAMILTON 

Beginning  life  as  a  cabinet  maker,  Romney 
soon  turned  his  attention  to  portrait  painting, 
and  won  success,  in  spite  of  his  lack  of  training,  as 
a  roaming  painter  through  the  northern  counties 
of  England.  At  twenty-eight  he  made  his  way  to 
London  and  two  years  later  to  Paris,  where  he 
studied  such  works  of  art  as  he  could  find.  After 
several  years  more  in  London,  during  which  his 
portraits  brought  him  prosperity,  he  visited  Italy, 
where  he  spent  about  two  years.  Returning, 
at  forty-two,  he  settled  in  London,  and  soon  had  a 
constant  influx  of  fashionable  sitters.  He  made 
many  portraits  of  Emma  Hart,  the  present  subject, 
who  was  raised  from  a  painter's  model  to  be  an 
ambassador's  wife,  and  through  her  grace  and 
beauty  became  a  conspicuous  figure  in  social 
life.  Of  ready  execution,,  Romney  found  constant 
occupation,  and  became  the  foremost  rival  of 
Reynolds  who  was  a  dozen  years  his  senior. 

Canvas.     H.  29  in.     W.  24  in. 


118 


LANDSCAPE  WITH  FIGURES 

CORNELIS    HUYSMANS 


ENGLISH  VILLAGE 

JOHN    SELL    COTMAN 


121 


CORNELIS  HUYSMANS 
1 648- 1 727 

LANDSCAPE  WITH  FIGURES 

This  Franco-Flemish  painter  was  born  at  Ant- 
werp and  became  a  pupil  of  Jacobus  van  Artois,  in 
Brussels.  His  subjects  were  landscapes  and  wood- 
land scenes,  the  forest  of  Soignes  near  Brussels 
being  his  favorite  resort  of  study.  His  pictures 
are  mostly  of  small  size,  and  are  distinguished  by 
able  drawing  and  a  fine  sense  of  color. 

Canvas.     H.2i^in.     W.  30  in. 


JOHN  SELL  COTMAN 

1 782- 1 842 

ENGLISH  VILLAGE 

This  friend  and  associate  of  Crome,  also  a  native 
of  Norwich,  worked  both  in  oil  and  water  colors. 
Finding  little  sale  for  his  paintings  he  became 
a  drawing  master.  In  his  leisure  he  executed  a  ser- 
ies of  etchings  of  architectural  antiquities  which 
he  had  the  gift  of  making  interesting,  and  which 
were  published  in  two  large  volumes  Through 
the  recommendation  of  Turner  he  received  ap- 
pointment as  drawing  master  in  King's  College 
School,  London,  which  he  held  until  his  death. 
His  pictures  show  a  masterly  treatment  of  light 
and  shade,  with  pleasing  color. 

Canvas.     H.  19  in.     W.  15^^  in. 

122 


/J^  ^  nit-y^.  >  ■■  --.;'•- j^- 


"■«>:   -•7T..>  r;:; 


^ 


LANDSCAPE 

PATRICK    NASMYTH 


LANDSC/PE  AND  FIGURES 

RICHARD    WILSON,    R.    A. 


125 


PATRICK  NASMYTH 

1 786- 1 83 1 

LANDSCAPE 

The  son  of  a  Scotch  landscape  painter,  Nasmyth 
began  his  studies  with  his  father  in  Edinburgh,  but 
at  twenty  left  the  North  and  settled  in  London. 
Pollowing  the  fashion  of  the  Dutch  landscape 
painters,  then  in  favor  with  English  patrons, 
Nasmyth  chose  subjects  similar  to  those  of  Wynants 
and  Hobbema — country  lanes,  sedgy  pools,  deep 
shaded  roads,  or  meadows  skirted  by  dwarf  oaks 
with  twisted  limbs.  His  pictures  show  great  elab- 
oration of  detail  in  foliage  and  low-toned  color,  but 
his  execution  is  firm  and  able 

Canvas.     H.  14  in.     W.  19  in.  Signed. 

RICHARD  WILSON  R.  A 

1713-1782  ' 

LANDSCAPE  AND  FIGURES 

A  year  or  two  before  Wilson  left  for  Italy  his 
name  as  a  portrait  painter  was  so  well  established 
that  he  was  commissioned  to  paint  a  large  portrait 
of  the  future  monarch  with  his  brother  the  Duke  of 
York.  When  he  returned  to  England,  after  six 
years  stay  in  Italy,  where  he  had  abandoned  por- 
traits forever,  his  landscapes  were  received  with 
much  criticism,  and  an  art  committee  decided  that 
his  pictures  were  unsuited  to  English  taste.  He 
was  allowed  to  suffer  from  neglect,  being  only  kept 
from  want  by  the  stipend  he  received  as  librarian 
of  the  Royal  Academy. 

Canvas.     H.  i7in.     W.  21  in. 

126 


SUNSET  ON  THE  SCHELDT 

JAN    BARTHOLD   JONGKIND 


129 


JAN    BARTHOLD  JONGKIND 
1819-1891 

SUNSET  ON  THE  SCHELDT 

Born  at  Latrop,  near  Rotterdam,  Jongkind 
left  his  birthland  early  and  began  his  studies  at 
Diisseldorf,  being  attracted  by  the  fame  that  town 
formerly  had  as  an  artistic  centre.  When  about 
twenty-five  he  took  up  his  permanent  residence  in 
Paris  with  occasional  visits  to  Holland,  finding 
sufficient  encouragement  there  to  warrant  this  step. 
He  won  his  first  recognition  at  the  Salon  of  1852, 
when  he  was  given  a  medal  of  the  second  class. 
His  subjects  are  landscapes  and  river  views  with 
boatmen  and  sailing  craft,  or  views  of  the  Dutch 
canals,  which  he  painted  with  breadth  and  individ- 
uality. 

Canvas.     H.  20^  in.     W.  28^  in.  Signed. 


130 


MASTER  FRANCIS  GEORGE  HARE 

SIR   JOSHUA    REYNOLDS,    P.    R.    A. 


133 


SIR  JOSHUA  REYNOLDS,  P.  R.  A. 
1 723- 1 792 

MASTER  FRANCIS  GEORGE  HARE 

With  all  the  sense  of  beauty  and  grace  that 
marks  Sir  Joshua's  portraits  of  men  and  women  of 
fashion,  his  portraits  of  children  are  even  more 
entrancing.  He  was  fond  of  children,  and  a  throng 
of  them  have  been  immortalized  for  our  enjoyment. 
They  look  out  from  a  long  line  of  canvases  with 
wondering  eyes  and  winning  smiles,  captivating 
our  fancy. 

While  in  Italy  Reynolds  spent  some  time  in  the 
study  of  Correggio,  and  to  this  study,  as  well  as 
to  his  natural  love  of  children,  we  owe  his  many 
infantile  subjects,  which  are  imbued  with  the  feel- 
ing of  that  master  and  show  his  impasto  style  of 
execution.  In  these  fancy  pictures  he  was  quick  to 
seize  any  chance  attitude  or  passing  action  which 
nature  set  before  him,  hence  their  great  charm  and 
naturalness. 

Canvas.     H.  29  in.     W.  24  in. 


134 


MRS.  ANGELO 

SIR   JOSHUA    REYNOLDS,    P.    R.    A. 


137 


SIR  JOSHUA  REYNOLDS,  P.  R.  A. 
1 723- 1 792 

MRS.  ANGELO 

The  Royal  Academy  was  founded  in  1768  and 
Reynolds,  then  forty-five,  was  made  its  first  presi- 
dent and  received  the  honor  of  being  knighted  by 
King  George  III.  During  the  next  twenty-two 
years,  until  he  lost  the  sight  of  one  eye  and  was 
obliged  to  give  up  painting,  he  exhibited  two  hun- 
dred and  forty-five  works  at  the  Academy,  an  av- 
erage of  eleven  each  year,  which  gives  some  idea  of 
his  industry.  In  fact  he  boasted  he  had  covered 
more  canvas  than  any  preceding  artist  of  three 
generations,  the  number  of  his  pictures  being 
estimated  at  three  thousand. 

The  subject  of  this  canvas  was  the  wife  of 
Angelo  Tremamondo,  a  riding  and  fencing  master, 
celebrated  in  his  time.  She  sat  to  Reynolds  about 
1760,  and  his  note-book  records  that  he  received 
fifteen  guineas  for  it.  It  remained  in  the  possess- 
ion of  the  family  until  sold  in  1878. 

Canvas.     H.  29  in.     W.  241^  in. 


138 


VENUS  AND  ADONIS 

JACQUES    BLANCHARD 


141 


JACQUES  BLANCHARD 
1 600- 1 638 

VENUS  AND  ADONIS 

In  the  sixteenth  century  French  painting 
showed  a  wavering  between  the  influences  of  Italy 
and  Flanders,  but  as  more  and  more  of  the  north- 
ern artists  drifted  to  Italy  and  came  under  the 
spell  of  Titian,  the  Italian  influence  predominated. 
Blanchard  possessed  a  marked  gift  of  color,  which 
he  had  developed  through  study  of  the  Italian 
masters,  and  which  won  for  him  the  name  of  the 
French  Titian.  He  was  the  first  of  the  French 
painters  who  showed  any  beauty  of  color.  Besides 
subjects  from  mythology  he  painted  Holy  Fam- 
ilies and  half-length  Virgins  which  were  much  in 
demand.  When  Vouet,  the  court  painter  of  Louis 
XIII,  was  at  the  height  of  his  popularity  he  had 
but  one  rival,  Jacques  Blanchard,  with  whom  he 
decorated  the  famous  Gallery  of  the  Hotel  de  Bour- 
bon, but  the  rivalry  was  soon  ended  by  the  early 
death  of  Blanchard. 

Canvas.     H.  47  in.     W.  68  in. 


142 


THE  LANDING 

JOHN    CROME 


•145 


JOHN  CROME 

1768-1821 

THE  LANDING 

Beginning  his  career  as  a  house  and  sign  painter 
John  Crome  (called  old  Crome  to  distinguish  him 
from  his  son  who  was  also  a  painter)  became  a 
student  of  Dutch  pictures  and  rose  to  an  eminent 
position  in  English  art.  In  1803  he  founded  the 
Norwich  Society  of  Artists,  in  whose  exhibitions 
most  of  his  works  were  shown.  His  pictures 
show  great  fidelity  in  rendering  the  woodland 
scenery  of  his  native  country,  and  exhibit  a  marked 
and  original  style.  To-day  he  is  accorded  a  place 
among  the  great  landscape  painters  of  the  world. 

Canvas.     H.  23  in.     W.  19  in. 


146 


MRS.  PULHAM 

JOHN    CONSTABLE,    R.    A. 


149 


JOHN  CONSTABLE,  R.  A. 
1 776- 1 837 

MRS.   PULHAM 

Finding  his  landscapes  returned  unsold  from  the 
exhibitions  year  after  year,  Constable  was  urged  by 
his  family  to  follow  the  example  of  his  neighbor 
Gainsborough  and  take  up  portrait  painting.  This 
he  was  unwilling  to  do,  but  that  he  might  have  won 
success  as  a  portrait  painter  seems  certain  from  this 
example  of  his  skill  in  that  field.  In  his  painting  he 
used  the  palette  knife  freely,  finding  he  could  thus 
secure  breadth  of  effect  and  retain  the  purity  and 
freshness  of  his  color.  Unpopular  in  his  own  day, 
he  remains  oneof  theenduring  namesfor  all  time  in 
British  art.  Few  of  his  canvases  were  ever  signed 
or  dated. 

Canvas.     H.  29  in.     W.  24  in. 


150 


LADY  ELLENBOROUGH 

SIR    THOMAS    LAWRENCE,    P.    R.    A. 


153 


SIR  THOMAS  LAWRENCE,  P.  R.  A. 
1 769- 1 830 

LADY  ELLENBOROUGH 

Precocious  from  childhood,  Lawrence,  the  son 
of  an  inn-keeper  was  recognized  as  a  painter  of 
talent  at  sixteen,  and  at  twenty-three  was  ap- 
pointed portrait  painter  to  King  George  III,  who 
had  taken  great  interest  in  the  provincial  prodigy. 
His  personal  attractiveness  was  as  remarkable  as  his 
talent,  creating  enthusiasm  wherever  he  went,  and 
greatly  helping  his  advancement.  His  appoint- 
ment as  Pamter  to  the  King  brought  him  a  long  line 
of  distinguished  sitters,  in  which  he  rivalled  all 
others  save  Hoppner,  who,  as  Painter  to  the  Prince 
of  Wales,  held  his  own.  He  excelled  in  portraits 
of  women  and  children,  in  which  his  style  is  graceful 
and  pleasing.  He  was  chosen  president  of  the 
Royal  Academy  in  1820,  and  held  the  position  until 
his  death. 

Canvas.     H.  29  in.     W.  24  in. 


154 


ENGLISH  LANDSCAPE 

THOMAS    R.    GAINSBOROUGH,   R.   A. 


157 


THOMAS  GAINSBOROUGH   R.  A. 

1 727- 1 788 

ENGLISH  LANDSCAPE 

With  Wilson,  Gainsborough  was  one  of  the 
founders  and  great  leaders  of  English  landscape 
art.  Crome  was  not  born  until  forty-two  years 
later,  and  Constable  and  Turner  fifty  years  after. 
But  Wilson  took  up  landscape  in  middle  life  and 
devoted  himself  wholly  to  Italian  themes,  while 
Gainsborough  developed  his  own  line,  painting  the 
rural  scenes  about  him  from  the  beginning,  never 
caring  to  leave  England  to  find  subjects  elsewhere. 
He  loved  the  hills  and  valleys  and  sedgy  streams 
of  his  native  Suffolk,  which  he  rendered  with  a 
melancholy  charm  suggesting  the  tenderness  and 
grace  of  his  own  kindly  nature.  It  was  in  painting 
landscapes  that  he  found  greatest  pleasure,  and 
what  time  he  could  gain  from  his  portrait  sitters  he 
gave  to  it.  I  nnately  he  had  a  deep  love  of  color,  but 
was  influenced  by  the  Dutch  masters  and  never 
wholly  broke  away  from  the  conventions  of  Hob- 
bema  and  Wynants,  hence  the  brown  harmonies  of 
his  landscapes  contrast  strangely  with  the  fresh- 
ness of  his  portraits. 

Canvas.     H.46in.     W.  58  in. 


158 


GOSSIPS  AT  THE  WELL 

JOHN    PHILLIP,    R.    A. 


i6i 


JOHN  PHILLIP,  R.  A. 

i8i 7-1867 

GOSSIPS  AT  THE  WELL 

Born  in  Aberdeen,  Phillip  was  apprenticed  as 
a  boy  to  a  house  and  sign  painter,  where  he  showed 
his  taste  for  art  by  making  portrait  studies  of  his 
fellow  workmen.  At  twenty-one  he  went  to  Lon- 
don and  entered  the  Academy  school.  For  a  long 
time  he  painted  Scottish  subjects,  but  his  health 
compelled  him  to  seek  a  warmer  climate  in  Spain, 
when  he  began  to  paint  the  Spanish  scenes  and 
types  with  which  his  name  is  identified.  His 
pictures  show  vigorous  drawing  and  rich  harmon- 
ious coloring.  In  i860  he  was  commissioned  by 
the  Queen  to  paint  the  "Marriage  of  the  Princess 
Royal,"  which  presents  a  series  of  portraits  glowing 
with  brilliant  color.  He  died  from  a  stroke  of 
paralysis  brought  on  by  overwork. 

Canvas.     H.  18  in.     W.  26  in. 


162 


KING  CHARLES  I 

DANIEL    MYTENS 


165 


DANIEL  MYTENS 
1 590-1658 

KING  CHARLES  I 

Born  at  The  Hague,  Mytens  went  to  England 
at  twenty-eight,  where  he  was  employed  by  James 
I,  later  becoming  court  painter  to  Charles  I. 
When  the  more  brilliant  Van  Dyck  arrived,  Mytens 
begged  his  sovereign  for  permission  to  retire  from 
court,  but  was  persuaded  to  remain.  Later  he 
renewed  his  request  and  returned  to  The  Hague  in 
1630.  He  painted  numerous  portraits  of  Charles 
and  Henrietta  Maria  which  are  to  be  found  in  dif- 
ferent European  collections.  The  inscription  on 
this  portrait  shows  it  to  have  been  a  presentation 
piece,  painted  during  the  last  year  of  Mytens'  stay 
in  England.  He  was  happy  in  his  background  ac- 
cessories, while  his  fine  and  careful  painting  and  his 
silvery  coloring  gives  an  air  of  exactitude  to  his  por- 
trait. 

Canvas.     H.  77  in.     W.  53  in.  Signed.'    Dated  1629. 


166 


INDIAN  ENCAMPMENT 

RALPH  ALBERT  BLAKELOCK 


169 


RALPH  ALBERT  BLAKELOCK 

1847- 

INDIAN  ENCAMPMENT 

This  characteristic  work  of  a  talented  painter 
shows  his  love  of  nature's  mysteries  and  his  gift 
for  deep  vibrating  color.  The  son  of  a  physician, 
Blakelock,  when  a  youth,  made  a  trip  to  the  far 
west,  where  he  studied  the  life  of  the  Indians  in 
their  primitive  surroundings.  Although  he  meant 
his  pictures  to  express  a  meaning,  his  figures  are 
generally  used  only  to  give  color  and  variety  to  the 
scene.  He  translates  the  emotions  awakened  in 
him  by  the  silent  woods  or  the  glory  of  the  evening 
sky  after  rain.  His  pictures  show  serious  thought, 
rich  color  and  a  profound  love  for  nature's  moods. 
There  is  never  any  deficiency  in  solidity  of  painting 
to  secure  fine  sentiment,  but  his  expression  is  al- 
ways consistent  with  excellent  technique.  After 
long  neglect  he  has  become,  now  too  late,  one  of  the 
best-known  and  most  highly  esteemed  of  native 
artists. 

Canvas.     H.  37  in.     W.  40  in.  Signed. 


170 


SAND  DUNES,  LAKE  ONTARIO 

HOMER  DODGE  MARTIN,  N.  A. 


173 


HOMER  DODGE  MARTIN,  N.  A. 
I 836- I 897 

SAND  DUNES,  LAKE  ONTARIO 

There  is  a  structural  knowledge  in  the  land- 
scapes of  Homer  Martin  somewhat  akin  to  that 
employed  by  an  architect  in  creating  some  great 
building.  It  is  found  in  the  strong  lines  that  run 
through  the  work,  its  skeleton  so  to  speak,  which 
satisfy  the  eye  by  giving  strength  and  rhythmical 
balance  to  the  whole.  He  was  one  of  the  earliest 
to  break  away  from  the  methods  of  his  fellow  artists 
of  the  Hudson  River  School,  realizing  that  the 
spirit  of  a  scene  could  not  be  set  forth  by  elabora- 
tion of  details.  He  felt  the  solemnity  of  nature 
which  echoed  the  loneliness  of  his  own  heart.  This 
picture  of  Sand  Dunes  presents  a  desolate  area,  but 
is  fraught  with  the  impression  made  by  it  on  the 
imagination  of  the  painter.  The  deep  isolation  of 
the  scene  is  woven  with  the  stability  of  the  earth, 
the  immensity  of  the  sky,  all  seeming  like  a  great 
choral  marked  by  sublime  harmonies. 

Canvas.     H.  36  in.     W.  59  in.  Signed.     Dated  1887. 


174 


A  GLIMPSE  OF  THE  SEA 

ALEXANDER    H.    WYANT,  N.  A. 


177 


ALEXANDER  H.  WYANT,  N.  A. 
1 836- 1 892 

A  GLIMPSE  OF  THE  SEA 

Born  in  Ohio,Wyant  began  his  career  by  painting 
photographs  in  Cincinnati,  but  at  twenty-one  made 
his  way  to  New  York  to  visit  Inness,  whose  counsel 
and  influence  were  very  helpful  to  him.  Later  he 
went  to  Diisseldorf,  where  he  developed  his  crafts- 
manship, but  it  was  with  his  easel  set  up  in  the  fields 
and  woods  that  he  gained  most.  He  was  a  poet, 
in  love  with  nature,  and  his  works  live  after  him, 
gaining  ever  wider  appreciation  because  they  are 
not  merely  photographic  transcripts,  but  inter- 
pretations of  the  scenes.  There  is  a  subtlety  about 
such  a  work  as  this  making  it  a  totally  different  and 
far  finer  thing  than  was  dreamed  of  when  Claude 
or  his  followers  were  producing  their  compositions. 

Canvas.     H.  18  in.     W.  30  in.  Signed. 


178 


LANDSCAPE    IN  THE  ADIRONDACKS 

ALEXANDER    H.    WYANT,  N.  A. 


l8l 


ALEXANDER  H.  WYANT,  N.  A. 
1 836- 1 892 

LANDSCAPE  IN  THE  ADIRONDACKS 

Like  the  two  others  in  this  gallery  from  the 
same  hand,  this  picture  is  an  expression  of  a  refined 
poetic  nature.  Wyant  loved  the  opal  tones  of  grey 
skies  and  the  delicate  mystery  of  cloudy  weather. 
His  interpretations  are  always  marked  by  great 
penetration  and  subtlety  and  keen  appreciation  of 
nature's  moods.  While  his  productivity  was 
great,  all  his  pictures  reveal  his  poetic  qualities,  and 
his  works,  like  those  of  his  fellow  artist  Inness,  will 
continue  to  reflect  lustre  on  native  art  for  all  time. 
From  the  beginning  his  art  has  only  been  appre- 
ciated by  fastidious  collectors  who  enjoy  the  art  and 
poetry  of  a  picture. 

Canvas.     H.  20  in.     W.  30  in.  Signed. 


182 


THE  BROAD  SILENT  VALLEY 

ALEXANDER   H.    WYANT,   N.  A. 


185 


ALEXANDER  H.  WYANT,  N.  A. 
I 836- I 892 

THE  BROAD  SILENT  VALLEY 

While  a  student  at  Diisseldorf  Wyant  laid 
a  firm  foundation  in  accuracy  of  drawing,  which 
served  him  well  in  after  years  in  setting  down  his 
poetic  interpretations  of  the  spirit  of  woods  and 
sky.  When  at  work  he  knew  exactly  what  he 
sought  to  do,  and  through  all  his  pictures  is  felt  the 
certainty  of  knowledge  that  shows  no  hesitancy. 
There  is  much  to  interest  one  in  such  a  work  as  this, 
aside  from  the  scene  portrayed — the  vibrating  sky, 
the  serenity  and  gravity  that  fills  the  peaceful 
valley. 

Canvas.     H.  6o}4  in.     W.  50  in.  Signed. 


186 


SUPPLEMENTARY   LIST 

The  following  pages  comprise  the  supplementary 
gift  of  Twelve  American  Paintings  mentioned  on 
page  XII  which  at  present  are  hung  in  Gallery  13. 


189 


SEARCHLIGHT,  SANTIAGO  DE  CUBA 

WINSLOW    HOMER,    N.    A. 


191 


WINSLOW  HOMER,  N.  A. 
1836- 

SEARCHLIGHT,  SANTIAGO  DE  CUBA 

Born  in  Boston,  Homer  began  his  career  as  a 
lithographer's  apprentice,  but  at  twenty-three 
caitie  to  New  York  and  entered  the  Academy 
School.  The  War  of  the  Rebellion  gave  him  an 
opportunity  to  go  south  as  an  illustrator  for 
Harper's  Weekly;  it  also  served  to  enlarge  his 
knowledge  of  our  national  rustic  types  which 
throughout  his  career  he  has  employed  in  his 
paintings.  His  development  from  the  beginning 
has  gone  on  mainly  through  his  observation  of  the 
world.  His  first  paintings  were  war  scenes.  After 
the  war  he  made  his  home  in  New  York,  but  of 
later  years  he  has  foresworn  town  life,  remaining  on 
the  Maine  Coast  near  Scarboro'. 

Canvas.     H.  30  in.     W.  493^  in.  Signed. 


192 


CANNON  ROCK 

WINSLOW    HOMER.  N.    A. 


195 


WINSLOW  HOMER,  N.  A. 
1836- 

CANNON  ROCK 

In  his  sea  coast  studies  Homer,  in  recent  years, 
has  devoted  himself  to  rendering  the  majesty  and 
power  of  the  tumultuous  sea.  But  the  locale  of 
these  seascapes  matters  little,  since  they  carry 
conviction  that  the  artist  has  seen  and  felt  the 
resistless  force  of  the  waters.  This  is  but  a  passage 
in  the  great  Ocean  Symphony  which  he  has  given 
us  in  a  dozen  canvases,  and  a  sight  of  it  at  once 
carries  the  mind  to  other  impressions  of  the  power 
and  infinity  of  the  sea  which  he  has  made  known 
to  us. 

Canvas.     H.  39  in.     W.  39  in.  Signed 


196 


(\     i    %  /»   V     '   e      '<     ^'■^    •         ' 


SLUMBERING  FOG 

ELLIOT    DAINGERFIELD,    N.    A. 


THE  SHEEP  FOLD 

HORATIO  WALKER,    N.    A. 


199 


ELLIOT  DAINGERFIELD,  N.  A. 
1859- 

SLUMBERING  FOG 

Born  in  Harper's  Ferry,  Daingerfield  came  to 
New  York  when  twenty-one  years  old  and  thence- 
forward appeared  regularly  in  the  exhibitions, 
building  up  his  method  by  observation  and  study. 
For  a  long  time  his  studio  adjoined  that  of  Inness, 
from  whom  he  received  the  benefit  of  criticism  and 
of  watching  the  technical  methods  of  that  master. 
To  gifts  of  imagination  he  has  added  a  fme  sense 
of  color  and  forcible  brush  work. 

Canvas.     H.  29^  in.     W.  36  in.  Signed. 


HORATIO  WALKER,  N.  A. 
1858- 

THE  SHEEP  FOLD 

Largely  self-taught.  Walker  has  found  his  in- 
spiration in  the  homely  labors  of  field  and  farm. 
He  shows  us  the  beauty  to  be  found  in  common- 
place scenes,  and  has  met  with  great  popularity  as 
his  reward.  His  toilers  are  represented  with  great 
sympathy,  and  carry  a  message  to  all  contemplative 
minds. 

Canvas.     H.2oin.     W.  28  in.  Signed.     Dated  1890. 


200 


iAyi^'^^f'W.Afi'.^") 


THE  GREEN   BODICE 

JULIAN    ALDEN    WEIR,    N.    A. 


203 


JULIAN  ALDEN  WEIR,  N.  A. 
1852- 

THE  GREEN  BODICE 

Born  at  West  Point,  he  received  his  first  in- 
struction from  his  father,  who  was  drawing  master 
at  the  Academy  there,  then  went  to  Paris,  where 
from  1872  to  1876  he  came  under  the  direction  of 
Gerome.  Of  impressionable  temperament  he  has 
essayed  a  variety  of  subjects,  always  giving  his 
productions  a  strong  personal  note.  He  was 
elected  an  Academician  in  1886.  His  large  picture, 
"Idle  Hours,"  which  won  one  of  the  prizes  at  the 
Competitive  Exhibition  of  the  American  Art 
Association  in  1888,  hangs  in  another  gallery  of 
the  Museum,  to  which  it  was  presented  in  that  year. 

Canvas,     H.  33  in.     W.  24  in. 


204 


YOUNG  WOMAN 

ABBOT    H.    THAYER,    N.    A. 


207 


ABBOT  H.  THAYER,  N.  A. 
1 849- 

YOUNG  WOMAN 

Born  in  Boston,  Thayer  began  his  study  of  art  in 
that  city,  but  in  1867  removed  to  Brooklyn  where 
he  came  under  the  tutelage  of  Professor  Whittaker. 
Later  he  came  to  New  York  and  entered  the  school 
of  the  Academy.  In  1875  he  went  to  Paris,  where  he 
entered  the  Ecole  des  Beaux  Arts  under  Lehman 
and  Gerome,  remaining  four  years.  Beginning  as  a 
painter  of  animals,  landscapes,  and  cattle,  he  has 
turned  his  attention  latterly  wholly  to  figure  paint- 
ing, his  ideal  figures,  both  in  conception  and  color 
treatment,  being  among  the  most  individual  pro- 
ductions of  native  art.  His  style  is  vigorous  and 
assured,  yet  possesses  dignity  and  repose  and 
shows  psychological  insight. 

Canvas.     H.  37  in.     W.  29  in.  Signed. 


208 


I 


OCTOBER  MOONLIGHT 

GEORGE   H.  BOGERT,  A.  N.  A. 


CHURCH  AT  CHALE,  ISLE  OF  WIGHT. 

GEORGE    H.    BOGERT,    A.    N.    A. 


211 


GEORGE  H.  BOGERT,  A.  N.  A. 


OCTOBER  MOONLIGHT 

This  work  won  recognition  at  the  Academy 
Exhibition  in  1898,  being  awarded  First  Hallgarten 
Prize.  Both  pictures  illustrate  the  artist's  style, 
which  is  distinguished  by  personal  quality,  har- 
monious color  and  unity  of  ensemble.  Noble 
generalization  takes  the  place  of  precise  rendering, 
resulting  in  a  widening  of  psychological  perception. 

Canvas.     H.  i8in.     W.  30  in.  Signed. 


GEORGE  H.  BOGERT,  A.  N.  A. 
1864- 

CHURCH  AT  CHALE,  ISLE  OF  WIGHT 

The  landscape  work  of  this  artist  has  long  at- 
tracted attention  in  our  exhibitions.  Born  in 
Brooklyn,  he  began  his  studies  under  Thomas 
Eakins.  Then  in  1884  he  went  to  France,  where  he 
came  under  the  tutelage  of  Colin  and  Morot.  The 
present  picture,  which  represents  the  maturity  of 
his  powers,  was  commissioned  by  Mr.  Hearn  in 
1895,  because  of  certain  associations  connected 
with  the  church.  One  of  his  ancestors,  who  was 
rector  there,  was  buried  within  the  walls  in  1649. 
From  the  tower  beacon  fires  announced  the  coming 
of  the  Spanish  Armada  in  1572. 

Canvas.     H.28in.     W.  36  in.  Signed. 


212 


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EVENING 

LOUIS    PAUL    DESSAR,    N.    A. 


SPRING  WOODS 

HENRY    W.    RANGER,    N.    A. 


21 


LOUIS  PAUL  DESSAR,  N.  A. 

1867- 

EVENING 

Coming  from  Indianapolis,  Dessar  entered  the 
Academy  School  in  1883,  and  after  three  years 
went  to  Paris,  coming  under  Bouguereau  and 
Robert  Fleury.  Exhibiting  at  the  Salon  he  re- 
ceived a  third  class  medal  in  1 891,  and  in  1893  his 
picture  was  bought  by  the  French  Government. 
His  work  is  marked  by  technical  force  and  breadth 
suffused  with  poetic  feeling. 

Canvas.     H.  28  in.     W.  36  in.  Signed. 


HENRY  W.  RANGER,  N.  A. 

1858- 

SPRING  WOODS 

Born  in  Syracuse,  Ranger  began  his  studies  while 
engaged  in  his  father's  photographic  studio.  He 
gained  nothing  from  art  schools,  his  development 
being  wholly  through  observation  and  study  from 
nature  both  at  home  and  abroad.  '  Examination 
of  the  works  of  the  great  masters  and  their  methods 
of  interpretation  has  been  a  fruitful  study  for  him, 
and  he  has  evolved  a  style  of  marked  individuality 
and  strong  decorative  effect. 

Canvas.     H.  27  in.     W.  35  in.  Signed 


216 


MOONLIGHT 

DWIGHT    W.    TRYON,    N.    A. 


THE  PASSAIC  RIVER 

F.    BALLARD    WILLIAMS 


219 


DWIGHT  W.  TRYON,  N.  A. 
1 849- 

MOONLIGHT 

After  his  Paris  studies,  Tryon  opened  his  studio 
in  New  York  in  1881,  and  at  once  took  rank  as  a 
painter  of  distinguished  talent,  receiving  a  success- 
ion of  prizes  and  medals  at  exhibitions  for  his  work. 
His  technique  is  marked  by  ease  and  assurance  and 
his  style  shows  poetic  charm  and  suggestion. 

Canvas.     H.  i3in.     W.  2i>^in.  Signed. 


F.  BALLARD  WILLIAMS 

1871- 

THE  PASSAIC  RIVER 

One  of  the  newest  acquisitions  to  the  ranks 
of  our  poetic  landscape  painters,  this  artist  has 
taken  high  place  in  the  esteem  of  discriminating  art 
lovers.  In  his  sympathetic  renderings  of  nature 
we  see  the  tendency  of  modern  landscape  art  to 
become  purely  a  vehicle  for  the  artist's  emotional 
expression. 

Canvas.     H.24in.     W.  30  in.  Signed. 


220 


THE  FOLLOWING  PAINTINGS  WERE 
ADDED  IN  1906:— THE  DE  FOREST 
BRUSH  WAS  PRESENTED  BY  MR. 
HEARN,  AND  THE  OTHERS  PURCHASED 
FROM  THE  HEARN  FUND 


IN  THE  GARDEN 
GEORGE  DE  FOREST  BRUSH 


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THE  YOUNG  PIONEER 
DOUGLAS  VOLK 


SEVENTEENTH   CENTURY  LADY 
WILLIAM  M.  CHASE' 


PORTRAIT 
FRANK  W.  BENSON 


THE  SEER 
WILLIAM  SARGENT  KENDALL 


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